The Assumption of the Virgin, below the apostles surround the tomb
Medium
Engraving
Dimensions
sheet: 10 1/4 x 8 1/4 in. (26 x 21 cm)
Classification
Prints
Department
Drawings and Prints
Museum
Metropolitan Museum of Art, New York, NY
Credit
The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1949
Accession Number
49.97.315
Rights
Public Domain
Tags
Art Historical Context
Behold *The Assumption of the Virgin below the apostles surround the tomb*, a captivating engraving from 1530–60, to either the Master of the Die orino del Vaga (Pietro Buonaccorsi), a prominent Italian Mannerist artist who trained under Raphael. This 10¼ × 8¼-inch sheet captures a pivotal moment in Christian iconography: the Virgin Mary's bodily ascent to heaven, surrounded by adoring angels above, while below, the apostles gather reverently around her empty tomb The intricate composition blends dynamic movement with spiritual elevation, hallmarks of Mannerist style, which favored elegance and complexity over Renaissance balance. Engravings like this one were revolutionary in the 16th century, allowing detailed religious imagery to reach a wide audience beyond elite patrons. Produced through meticulous incision into a metal plate, the technique yields fine lines and rich tonal contrasts that heighten the scene's drama—angels swirling in rapture, apostles in awe-struck poses. Perino del Vaga's influence shines in the graceful figures and ornate details, reflecting Rome's vibrant artistic scene during the Counter-Reformation era. Housed in the Metropolitan Museum of Art's Drawings and Prints department as part of The Elisha Whittelsey Collection (1949), this print invites visitors to ponder timeless themes of faith, transcendence, and communal devotion. A window into Renaissance print culture, it reminds us how art bridged the divine and the earthly.
About the Artist
Master of the Die|Perino del Vaga (Pietro Buonaccorsi) · 1525–1560
**Master of the Die** (fl. 1525–1560) was an anonymous Italian engraver and printmaker active primarily in Rome during the mid-16th century. Named for the distinctive small die he used to sign his prints—a tiny emblematic mark that became his moniker—this elusive artist remains unidentified despite scholarly proposals linking him to figures like Benedetto Verino, Giovanni Francesco Zabello, Tommas...